WHY I LOVED “DANCE LITTLE LADY” EVEN BEFORE I’D HEARD IT

Because in 1986 I purchased Charles Castle’s biography of set designer Oliver Messel, which has photos of the masks that Messel created for “Dance Little Lady,” when it was first heard as part of theLondon revue This Year of Grace. (Want to find out who choreographed it.)

Masks interest me, then as now. Masks in the psyche. Masks as artifacts. Masks used in theater. I had recently purchased as well Walter Sorrell’s The Other Face: The Mask in the Arts.

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